标题: “下层阶级站到舞台前”:海外保钓运动中的业余话剧(1971-77)
Staging the Lower Class: The Amateur Spoken Drama in the Overseas Defending Diaoyutai Movement, 1971-1977
作者: 陈柏旭
Po-Hsi CHEN
关键字: 李渝;保钓运动;话剧;曹禺;留学生;Li Yü;Defending Diaoyutai Movement;spoken drama;Cao Yü;overseas students
公开日期: 1-四月-2023
出版社: 国立阳明交通大学出版社
National Yang Ming Chiao Tung University Press
摘要: 话剧改编是1970年代海外保钓运动在艺文方面的主要活动。由于保钓运动以反抗帝国主义为主要的政治议程,既有研究多将此一阶段的话剧表演视为政治运动的附属。然而,保钓期间的话剧运动也提出相应的剧论,在创作的实践中透过对悲剧的重新定义,反思留学生的买办性格、提出妇女议题等,因此,分析话剧运动有助于我们掌握保钓运动的精神面貌。本文透过现存的话剧剧本、剧评,以及分析“保钓小说”中对海外钓运期间话剧表演的呈现,讨论话剧之于台湾剧场运动史书写的意义。受到全球1960年代激进思潮的影响,身处1970年代初美中台关系的巨变之中,海外港台留学生透过文学作品重新认识中国。其中,通过对曹禺的《雷雨》(1934)、《日出》(1936)等名作进行改编,乃至批判,保钓运动继承了“五四”以来的问题意识,例如阶级与宿命的辩证、女性的独立自主等等,同时也将“五四”的弑父意识嫁接在流寓美国的台湾留学生家庭上。在“钓运转统运”后,虽然左派学生在政治立场上认同社会主义中国,然而为了动员海外台湾留学生的情感,话剧的题材反而转向以本土议题和海外留学生切身的处境为主,形成形式上认同中国大陆,内容上却趋向战后台湾本土社会的矛盾。最后,透过研究“保钓小说”对“保钓话剧”的再现,本文认为小说家将戏剧前台与后台之间的界线改写为革命与亲职之间的冲突,藉此重新探讨保钓运动中公领域与私领域的关系。最终,探讨海外钓运期间话剧的表演,可以适度弥补1949年以前两岸剧团的交流至1980年代以后的小剧场运动这两个时段之间台湾左翼剧运上的空白。
The staging of Chinese spoken drama (huaju) in the United States was a short-lived yet crucial theatrical movement in the Defending Diaoyutai Movement during the 1970s. Since the Diaoyutai campaign was mainly a political and diplomatic-not literary and aesthetic-movement, scholarship mostly regards spoken drama as a supplement to the political movement. However, although these spoken drama performances were mostly used to mobilize students, they nonetheless developed drama theory. An analysis of the overseas spoken drama movement allows us to better grasp how the Defending Diaoyutai Movement critiqued the comprador character of U.S.-educated intellectuals, and addressed the women question. This study examines the significance of spoken drama in the history of theatre in Taiwan by analyzing the theatrical scripts and reviews in comparison with the fictional representations of theatrical performances. Under the influence of the global sixties" and the fraught triangular relationship between Taiwan (ROC), the U.S., and the PRC, overseas students from Taiwan and Hong Kong began to refamiliarize themselves with modern Chinese history through literary works. Against this backdrop, the adaptation-and sometimes criticism-of Cao Yü's Thunderstorm (1934) and Sunrise (1936), resonated with the major issues passed down from the May Fourth Movement. Moreover, these adaptations transplanted the anti-traditionalist consciousness of the May Fourth onto the Oedipal complex in the overseas Chinese families. As the leftist students of the movement turned to support socialist China, paradoxically, the spoken drama turned to explore issues of local and overseas Taiwanese communities. By comparing the spoken drama with the novels about the Defending Diaoyutai Movement, this essay argues that the novelists use the boundary between the front- and backstage in theatrical performances to symbolize the gendered division of labor during the movement. In so doing, these novels rewrote the front stage as the revolutionary discourse in the public sphere that sometimes encroaches on the private realm embodied by motherhood. In conclusion, an examination of the overseas spoken drama during the Defending Diaoyutai Movement enables us to mend the gap between the periods between 1949, when cross-Strait theatrical interactions ended, and 1980, when the independent theatre movement began."
URI: http://dx.doi.org/10.6752/jcs.202304_(36).0003
http://hdl.handle.net/11536/160764
ISSN: 1816-0514
DOI: 10.6752/jcs.202304_(36).0003
期刊: 文化研究
Router: A Journal of Cultural Studies
Issue: 36
起始页: 15
结束页: 54
显示于类别:Router: A Journal of Cultural Studies


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